Carlos Kleiber hat uns so viel gegeben - ich denke, noch in tausend Jahren wird man ihn verehren. Hätte er doch nur mehr dirigiert, hätte er doch nur mehr auf Tonträger hinterlassen! Ich bin dankbar, dass er gelebt hat und für uns Musik geschaffen hat.
It's utterly absurd how many times I can watch this vid, and that's going back several years now. It's engrossing, and I know nothing about classical music. Weird, wonderful magic.
Mit einfachen Worten, nachdem ich Ihn mehrmals gehört hatte in NYC, er ist der, mit wenigem Repertoire, der, der wirklich den Titel des besten aller BESTEN Interpreten verdient hat.......
Ach, wie wunderbar ist diese Probenarbeit mit Bildern! Jeder, der es tut, weiß, wie viel mehr man so erreicht, als mit bloßen Ansagen von musikalischen Fachtermini. Kleiber war hier wirklich ein Meister! Unendlich schade, dass es nur so wenig Probenmitschnitte von ihm gibt! Interessant auch, wie kraftvoll er hier noch dirigiert - später war sein Dirigat ja nur noch ein geschmeidiges Ineinanderfließen eleganter Bewegungen...
fascinating..you hear how they come to him so heavy, and he awakens them into the real music of the piece, lightened totally alive..and as all the greatest, who come from Love, always respectvolle of them all , that they are workign together..Whatever he chooses for his next life, may it be soon, and in music...
+Mauro Felice Ineccepibile commento! Penso comunque che il grande Kleiber possa avere vicino nell'olimpo dell'arte l'indimenticabile Claudio Abbado, anche per le carateristiche umane che li accomunavano. Impareggiabili entrambi nell'amplificare nella 7a sinfonia di Beethoven la voglia di danzare, di emanare il piacere che sembrano entrambi provare nel dirigere quell'opera stupenda.
Siamo d'accordo. Punto. Anche se amo altri, come il Maestro Abbado, sempre un favorito, che si vede suo alcolite Masini qui parlarne. Ma Kleiber è in un'altro categoria di essere di Musica di noi tutti. Ce ne sono soltanto parole, che sembrano cosi pesante che le note che lui qui leva e riporta alla leggerezza di Vita coi musicisti, ma come ha detto Lei, è così.
What a great maestro, What a fantastic orchestra. It's the first time I see a professional Violist who is left handed, he sits in the 2nd stand. Nowadays that never happens.
Bavarian was his most favorite orchestra to work with he liked the Vienna, but never happier than with this orchestra! His wife Stanka was Bavarian and he learned to speak it and built them a house in Bavaria! I feel as a dancer Stanka taught him the ballet gestures and he used lots of dance in his conducting he was the first to do this he was a heady influence on Leonard Bernstein, who said if Kleiber was playing and you were not there you were wasting your life!
Wonderful! I wish every singer who is studying a part in this opera could watch this fantastic rehearsal and performance. He gets the best possible from this orchestra.
Watching history whilst enjoying some most passionate discussions here cheers! I realised whilst it's a fine balance for conductors' "directing" commentary, it's that very unique bond between them, and mutual trust, to allow the conductor to express freely his vision, and at the same time, his belief that his team can deliver it-- which ultimately gives birth in audience's experience the composer's dream.
Es GENIAL. No entiendo alemán y los subtítulos automáticos en español son malísimos, pero se entiende que toma todo ejemplo de la vida diaria para expresar.
What a supreme artist, and such a sensitive ear; why on earth have I taken so long to discover Kleiber ? Clearly, it's his first time with this orchestra, and you can see how, to begin with, they're the usual cynical lot with someone new - little snide whispers, smirks and grimaces. But, a few minutes in, they're hearing the effects, even if they don't always follow his analogies. In particular, the second desk violins turn from disdain to awe in a very short time; and the assistant leader, who begins rather impatiently with all the early interruptions, by the end is so exhilarated, he looks like he wants to rush to the podium and embrace the conductor ! When it comes to the performance, there's so much more detail and clarity than the usual hors d'oeuvre fare which is the overture's normal lot. Thanks very much for this Giuseppe.
ya. Exactly. The only probelm being that it's hard to go back to most other conductors after.... If I could bring two people back to life who died far too young, it would be Fritz Wunderlich and Carlos Kleiber ( and my father, to be honest, also a great musician who died early of cancer..but that's of course also personal..!) . Alright. And Mozart..Kleiber simply came straight from music, with no stops on the way, and the naturalness of what he brings--it as if we all recognize Life there, Love, Music, it's a recognizing, vs an admiration of him. Of which his great courtesy and real humility speak, he is in utter service to Music, and Love, of life and us all. Period. End sentence. Wishing you joy of your discovery.
I adore this stuff! Once I start with him I become entranced and sit through to the end! Playing Kleiber Strauss is THE way to have New Years Eve and or New Years Day! He had it all; glamour, depth, finesse, elegance, warmth,colors were brilliant and during every piece I get at least one physical thrill that I can feel to my toes! And pretty; many artists are afraid of pretty yet when touched by genius, pretty is one of toughest qualities to work with as it seems it’s easily corrupted or used to cover faults or as a cheap orchestra trick! Nothing of Carlos was ever less than superb especially when he made things pretty! He was great at pretty! In his hands it was a dream come true!
I agree with all that you say. I find the New Years Day Concerts sublime and the rehearsals too, so rare. Carlos Kleiber was unique and sadly missed by his admirers.
I think he was THE master. The hasn't been a conductor this good before or since, at least in my lifetime. The Jascha Heifetz of the podium. Obviously I agree with your second sentence. If you love Kleiber's work, as I do, I highly recommend Charles Barber's book, "Corresponding with Carlos". You will find that in addition to being a fabulous musician, he was funny as hell.
Der Erfolg eines Orchesterdirigenten liegt in den Arbeitsstunden, in der Hingabe und in der Ausführung des Werks des Komponisten...als ob er es getan hätte. GrüBe. 10.06.22
I read that his father, Erich Kleiber, did his utmost to dissuade his son from becoming a conductor, as he had found the profession so hard. Thank heaven he failed!
Wow and all that just on the overture. Try to imagine his rehearsal of the entire operetta! But such results and achievement! Would that we had someone like him today. I don't know which orchestra this was (Bavarian Radio? Bavarian Staatsoper?) but it was not the Vienna. When CK directed the Vienna, no one before or since could match the playing and glory of sound he coaxed from that orchestra. The sad thing is that the old Vienna sound is fast disappearing (if not already) and today not even Thielemann can approach bringing the old sound and style back to life. Comes to show that being a great conductor is much more than being a good musician. Qualities such as culture and good breeding I believe also count for a lot, and CK is a testament to this. Helps to have sound intellect (not sure CK was considered intellectual). In any case, did I mention the man was jaw-dropping handsome?
This was the Stuttgart Radio Symphony Orchestra, and I agree that Kleiber's work with the Vienna Philharmonic was one-of-a-kind. He was definitely an intellectual and a widely-read, cultured man: he was very fond of Emily Dickinson and Lao Tsu, for example. He had some unorthodox political opinions (e.g. he had a poor opinion of Abraham Lincoln and Mahatma Gandhi). I recommend the book "Corresponding with Carlos" by Charles Barber.
@bult15 and dizzyology; I would like to call your attention to what Mr Kleiber says between 18:50 and 19:05. The subtitles I can see on my copy are good, but I wish you also understood German to fully get his message - ...it's not what one says, it's how one says it... He also tells the orchestra members his dream that their coordination would make him, the conductor, superfluous. All that does not sound condescending at all. Finally, I want to make a third point regarding concerts. I see as an extraordinary polite gesture Carlos Kleiber's habit inviting the orchestra to receive the applause standing up, BEFORE he bows to the audience. A pity that Guiseppe Barbareschi did not mention the name of the orchestra in the rehearsal. Greetings .-
I entirely agree. Kleiber usually let the orchestra have the first bow, as do many of the greatest conductors. Abbado, for example, and especially Tennstedt (who was one of Kleiber's favorite conductors). The following clip shows the very end of Tennstedt's performance of Mahler's First Symphony with the Chicago Symphony. ua-cam.com/video/4p9MryrMNsU/v-deo.htmlm49s Notice that his first gesture is a nod of fellowship to the orchestra -- "Yes, we DID it!" He applauds the orchestra, asks them to stand, singles out the horns, shakes hands with all the principal string players, applauds the orchestra again -- and only then, 40 seconds after the applause began, does he turn to the audience and acknowledge the applause himself. That's the ultimate in respect for the musicians.
@@dizzyology7514 I don't know why I am reading your comment and the link only today - just by chance. I would have told you earlier that I thoroughly enjoyed Tennstedt's attitudes. Quite right, the orchestra first! .-
Oh but why in the concert do they focus so much on the orchestra and not on Kleiber????Not seeing him conduct in major parts of the performance was the major flaw here, the second flaw was that the subtitles were too small, and it was impossible to read on regular screens- need to project it to my tv to fully appreciate his comments- I’ll do it some time in the future.. Otherwise- it is so interesting to see his gentle and yet perfectionistic approach with the orchestra. (Compare it to Mravinsky’s ways:)
At 11:31 Karajan takes it a bit slower. He varies the tempo & then speeds it up, similar to what you might do while riding a horse & going from smooth to rugged terrain, & then back to smooth again. I love Carlos Kleiber's conducting, but for this piece, my preference is Karajan's. Carlos has a smaller repertoire, because he was such a perfectionist. I probably have all of his recordings. My 11 year old son can depict his conducting from other maestros, & only wants to hear him.
Having manic depression might have had something to do with it. Most father-son relationships are complex. (Do as I say, not as I do.) Certainly, both were creative geniuses. Conflict seems inevitable. Especially during the social conditions in Europe before and during WWII.
I wondered the same thing. These are extremely skilled musicians. They are able to respond to Kleiber's peculiar (even wacky) metaphors, and (a) understand what to do and (b) execute it. And in the process, they start having fun. Kleiber charmed the hell out of them, but all the charm in the world comes to nought unless the skill is there.
Willy Freivogel (*1934), studierte Flöte an der Stuttgarter Musikhochschule bei W. Glas und in Detmold bei H.P. Schmitz. Weitere Studien bei Le Roy, Paris, A. Nicolet, Freiburg und A. Jaunet, Zürich. 1960-1999 Solo Piccolobläser beim Radio Sinfonieorchester Stuttgart. Solistische Tätigkeit mit dem Stuttgarter, Pforzheimer und Heilbronner Kammerorchester in allen Musikzentren Europas, sowie bei Rundfunk und Fernsehen. 1960 Mitbegründer des Stuttgarter Bläserquintetts, mit dem er 1971 internationaler Kammermusik-Preisträger in Colmar wurde. 1972-82 "Scelto Duo" mit Katerina Zlatníková, ab 1979 "Diabelli Trio". 1990 erhielt er den Interpretenpreis zum Johann-Wenzel-Stamitz-Preis.
Questo video sarebbe inserito nella categoria "GUIDE PRATICHE E STILE"..........................Certo, non si finisce mai di imparare. Imparare ad attaccare un bottone o a portare con disinvoltura un certo abito....................
My experience has always been that those are the wannabe's not the real great ones, who usually are respectful of the others because they are there for the music not for pumping up their "importance"--the great ones know that their importance lies in getting out of the way and becoming a conduit for the greatness of the music...And this person was one of the greatest ever.
Sometimes the mean ones are true greats as well... Szell and Reiner come to mind; brutal taskmasters both but what results! But for the most part belligerence simply fails... Kleiber, on the other hand charmed this group into great performance
+Johann Schneider Eine schneidende Bemerkung, wenn ich so sagen darf! In der Tat geht es hier um die Einstudierung der “Fledermaus-Ouvertüre”. Die Verwirrung liegt einfach daran, daß uns der Hochlader des Films eine nachlässige Arbeit geliefert hat. Das sieht man sofort an dem Titel des Videos, der fälschlicherweise die “Freischütz-Ouvertüre” von Carl Maria von Weber lautet.
I found a female violinist sits at the end in the 2nd violin, probably she is not able to get a child, that's why they kept her. MANY THANKS FOR THIS AMAZING VIDEO, unfortunately there is no subtitles, but I try to understand, Italian terms and German is between English and Swedish!
His comments to the musicians (oboe, trombones) would put him in the pain-in-the-ass category of conductors. Pretending to "understand" but putting down the players at the same time. Mercifully, he could not stop during the concerts...
I appreciate how many could find his style and approach fascinating. But, as an orchestral trombonist, I have little use for conductor banter and most of my colleagues would probably agree. One of the best conductors I played under spoke barely at all to the musicians and everyone loved him. My German is OK but the subtitles help...
Actually, as his career progressed, Kleiber came to agree with you. In a letter to his friend and biographer Charles Barber, he notes that in a rehearsal, "every word is a nail in the conductor's coffin." The only other known footage of Kleiber rehearsing consists of three clips in preparation of the 1992 Vienna Philharmonic New Years Concert, and in these he speaks seldom, mostly when he is trying to resolve a discrepancy between what is in the parts the players are using and the version he knows by heart. The mature Kleiber preferred to communicate with players via written notes, or annotations in the parts, which he often hand-marked personally. But I would disagree that his tone is condescending in this rehearsal. He apologizes repeatedly for stopping them, often expresses frustration with himself when he can't find a way to explain what he wants, and he frequently emphasizes that he wants the orchestra to have fun while playing. As another comment notes, the musicians look a bit dubious and skeptical at first, but as the rehearsal continues, their expressions indicate that Kleiber is winning them over, making them feel that he's on their team more than they are on his. Kleiber could be very abrasive with players on some occasions, but I don't see that attitude displayed here.
I think you really don't understan what he is saying in any way. As a pro musician and orchestral violinist (1st) i do not in the least agree with you, and you sound much more lke the pain inthe for any conductor who had to work with you. The kind who don't listen, who are reading mags behind their music, and in genberal waste the time of the other musicians who are serious. Especially the arrogance of your comments. dizzyology had the courtesy to reply to you in a way your own comment did not merit, more power to him and his own level of musicianship. In general, I have found that the best are the simplest and the most courteous, as Maestro Kleiber is here, and the musicians clearly appreciate it, as that is not always the case. You have totally misinterpreted, because it sounds very clearly as if you were not really listening. Which sounds as if that is also how you handle your own work. Sadly. So use these comments to wake yourself up, and start making music and listening at a much more interesting and real level. The conductors, and the other musicians, will thank you for it, not to mention the composer...
I just love this man and his conducting. I never ever tire of Carlos Kleiber❤️
Carlos Kleiber hat uns so viel gegeben - ich denke, noch in tausend Jahren wird man ihn verehren. Hätte er doch nur mehr dirigiert, hätte er doch nur mehr auf Tonträger hinterlassen! Ich bin dankbar, dass er gelebt hat und für uns Musik geschaffen hat.
It's utterly absurd how many times I can watch this vid, and that's going back several years now. It's engrossing, and I know nothing about classical music. Weird, wonderful magic.
Even better is his 1989 Vienna performance. But this has a lot to like also.
Indeed it’s magic. I keep coming back for a decade now. The entire situation is incredibly calming 🫠
Was für eine Freude Maestro Kleiber zu sehen.Leider ein seltenes Vergnügen. Ein herausragendenes Zeitdokument.
Mit einfachen Worten, nachdem ich Ihn mehrmals gehört hatte in NYC, er ist der, mit wenigem Repertoire, der, der wirklich den Titel des besten aller BESTEN
Interpreten verdient hat.......
He is so charming. And mesmerising to watch.
Ach, wie wunderbar ist diese Probenarbeit mit Bildern! Jeder, der es tut, weiß, wie viel mehr man so erreicht, als mit bloßen Ansagen von musikalischen Fachtermini. Kleiber war hier wirklich ein Meister! Unendlich schade, dass es nur so wenig Probenmitschnitte von ihm gibt!
Interessant auch, wie kraftvoll er hier noch dirigiert - später war sein Dirigat ja nur noch ein geschmeidiges Ineinanderfließen eleganter Bewegungen...
Definitiv eines der schönsten Videos aller Zeiten!
... прослушала и посмотрела все 45 минут с неослабевающим интересом и удовольствием . БРАВО !! АПЛОДИСМЕНТЫ !!
An amazing treat to watch and listen. An object lesson for all conductors.
thank you dearly for these subtitles
fascinating..you hear how they come to him so heavy, and he awakens them into the real music of the piece, lightened totally alive..and as all the greatest, who come from Love, always respectvolle of them all , that they are workign together..Whatever he chooses for his next life, may it be soon, and in music...
I feel so connected with this guy. Now he's my idol.
che dire, Kleiber non può essere paragonato a nessun altro Direttore. E' uno degli ultimi Artisti Umanisti. Non la regola ma il sentire. Sublime
+Mauro Felice Ineccepibile commento! Penso comunque che il grande Kleiber possa avere vicino nell'olimpo dell'arte l'indimenticabile Claudio Abbado, anche per le carateristiche umane che li accomunavano. Impareggiabili entrambi nell'amplificare nella 7a sinfonia di Beethoven la voglia di danzare, di emanare il piacere che sembrano entrambi provare nel dirigere quell'opera stupenda.
+Gian Masini La 7a sinfonia di Beethoven e la 4a di Brahms erano considerate le preferite del Maestro,
Siamo d'accordo. Punto. Anche se amo altri, come il Maestro Abbado, sempre un favorito, che si vede suo alcolite Masini qui parlarne. Ma Kleiber è in un'altro categoria di essere di Musica di noi tutti. Ce ne sono soltanto parole, che sembrano cosi pesante che le note che lui qui leva e riporta alla leggerezza di Vita coi musicisti, ma come ha detto Lei, è così.
Thanks you so much for this version with English subtitles!!
The control and interpretation he achieved is on another level from most conductors.
What a great maestro, What a fantastic orchestra. It's the first time I see a professional Violist who is left handed, he sits in the 2nd stand. Nowadays that never happens.
Bavarian was his most favorite orchestra to work with he liked the Vienna, but never happier than with this orchestra! His wife Stanka was Bavarian and he learned to speak it and built them a house in Bavaria! I feel as a dancer Stanka taught him the ballet gestures and he used lots of dance in his conducting he was the first to do this he was a heady influence on Leonard Bernstein, who said if Kleiber was playing and you were not there you were wasting your life!
Il gesto apollineo Carlos Kleiber nell'Olimpo assoluto della direzione!
Wonderful! I wish every singer who is studying a part in this opera could watch this fantastic rehearsal and performance. He gets the best possible from this orchestra.
Тончайшая работа,невозможно оторваться!
Watching history whilst enjoying some most passionate discussions here cheers!
I realised whilst it's a fine balance for conductors' "directing" commentary, it's that very unique bond between them, and mutual trust, to allow the conductor to express freely his vision, and at the same time, his belief that his team can deliver it-- which ultimately gives birth in audience's experience the composer's dream.
I 💓💘❤ Carlos Kleiber 🎻🎼🎵🎶🎻LG from Austria 🇦🇹♥️🇦🇹💓
"Jetzt schon wieeeeeder diese Probe..." :) Watching Kleiber at work is fantastic. Ty for the upload.
Es GENIAL. No entiendo alemán y los subtítulos automáticos en español son malísimos, pero se entiende que toma todo ejemplo de la vida diaria para expresar.
He's a delight to watch in rehearsal and gives such good metaphors. I hope to be as good as him.
Good luck...
In meiner Welt ist er "Super-Carlos".🤩
Es gab zwar schon viele beruehmte Dirigenten und Records. Aber ich bin der Meinung, dass Herr Kleibers Werke an erste Stelle steht.
Kleiber, my LOVE. ❤😊
Ein hervorragender Einblick in eine Probe.
What a genius!
Carlos Kleiber's precision is unmatched
Please look at the rehearsal video of “Till Eulenspiegel” with Sergiu Celibidache and the same orchestra! Also an unmatched master!
Simplement fantastic, fabulous!
Amazing!!!😍👍👍
What a supreme artist, and such a sensitive ear; why on earth have I taken so long to discover Kleiber ? Clearly, it's his first time with this orchestra, and you can see how, to begin with, they're the usual cynical lot with someone new - little snide whispers, smirks and grimaces. But, a few minutes in, they're hearing the effects, even if they don't always follow his analogies. In particular, the second desk violins turn from disdain to awe in a very short time; and the assistant leader, who begins rather impatiently with all the early interruptions, by the end is so exhilarated, he looks like he wants to rush to the podium and embrace the conductor ! When it comes to the performance, there's so much more detail and clarity than the usual hors d'oeuvre fare which is the overture's normal lot. Thanks very much for this Giuseppe.
ya. Exactly. The only probelm being that it's hard to go back to most other conductors after.... If I could bring two people back to life who died far too young, it would be Fritz Wunderlich and Carlos Kleiber ( and my father, to be honest, also a great musician who died early of cancer..but that's of course also personal..!) . Alright. And Mozart..Kleiber simply came straight from music, with no stops on the way, and the naturalness of what he brings--it as if we all recognize Life there, Love, Music, it's a recognizing, vs an admiration of him. Of which his great courtesy and real humility speak, he is in utter service to Music, and Love, of life and us all. Period. End sentence. Wishing you joy of your discovery.
74 do you call far too young for an age to die?
@@Quotenwagnerianer I'll come back and ask you when you are 73
@@vitesenzafine See you in 30 years then. ;)
@@Quotenwagnerianer Word.
As a violist, I would love to play under a conductor such as this. Details...feelings...sensations...precision...
I adore this stuff! Once I start with him I become entranced and sit through to the end! Playing Kleiber Strauss is THE way to have New Years Eve and or New Years Day! He had it all; glamour, depth, finesse, elegance, warmth,colors were brilliant and during every piece I get at least one physical thrill that I can feel to my toes! And pretty; many artists are afraid of pretty yet when touched by genius, pretty is one of toughest qualities to work with as it seems it’s easily corrupted or used to cover faults or as a cheap orchestra trick! Nothing of Carlos was ever less than superb especially when he made things pretty! He was great at pretty! In his hands it was a dream come true!
I agree with all that you say. I find the New Years Day Concerts sublime and
the rehearsals too, so rare. Carlos Kleiber was unique and sadly missed by his
admirers.
Maître de la précision
thanks for subtitle and video. appreciate
He was a master. I wish he was still with us.
I think he was THE master. The hasn't been a conductor this good before or since, at least in my lifetime. The Jascha Heifetz of the podium. Obviously I agree with your second sentence.
If you love Kleiber's work, as I do, I highly recommend Charles Barber's book, "Corresponding with Carlos". You will find that in addition to being a fabulous musician, he was funny as hell.
he was the greatest conductor of all time
Donald Allen Oh trust me, I bought it and LOVE IT!
This is des Südfunks Stuttgart!! Golden era
This is soooo valuable!
Der Erfolg eines Orchesterdirigenten liegt in den Arbeitsstunden, in der Hingabe und in der Ausführung des Werks des Komponisten...als ob er es getan hätte. GrüBe. 10.06.22
I read that his father, Erich Kleiber, did his utmost to dissuade his son from becoming a conductor, as he had found the profession so hard. Thank heaven he failed!
"Ich drück mich sehr unklar aus,nicht...? Es ist auch meine Absicht jetzt,"24:18
Wie man Einfühlungsvermögen trainieren kann.
Wow and all that just on the overture. Try to imagine his rehearsal of the entire operetta! But such results and achievement! Would that we had someone like him today. I don't know which orchestra this was (Bavarian Radio? Bavarian Staatsoper?) but it was not the Vienna. When CK directed the Vienna, no one before or since could match the playing and glory of sound he coaxed from that orchestra. The sad thing is that the old Vienna sound is fast disappearing (if not already) and today not even Thielemann can approach bringing the old sound and style back to life. Comes to show that being a great conductor is much more than being a good musician. Qualities such as culture and good breeding I believe also count for a lot, and CK is a testament to this. Helps to have sound intellect (not sure CK was considered intellectual). In any case, did I mention the man was jaw-dropping handsome?
This was the Stuttgart Radio Symphony Orchestra, and I agree that Kleiber's work with the Vienna Philharmonic was one-of-a-kind. He was definitely an intellectual and a widely-read, cultured man: he was very fond of Emily Dickinson and Lao Tsu, for example. He had some unorthodox political opinions (e.g. he had a poor opinion of Abraham Lincoln and Mahatma Gandhi). I recommend the book "Corresponding with Carlos" by Charles Barber.
This is not Weber Der Freischutz Overture though, this is Die Fledermaus!
The literal God
what a smarty he is ^ ^
it was great
fascinating
这个乐团所有在坐的演奏家们当时绝不会意识到，他们的这一场排练留下的宝贵影像，会谐同着伟大不朽的卡洛斯克莱伯一起，成就了经典的蝙蝠序曲。他们也借此获得各自艺术生涯的永生。
Thanks.
Many thanks for the record of this genius. But why is the title font so tiny? Very hard to read. -James Boyk, Los Angeles
@bult15 and dizzyology; I would like to call your attention to what Mr Kleiber says between 18:50 and 19:05. The subtitles I can see on my copy are good, but I wish you also understood German to fully get his message - ...it's not what one says, it's how one says it...
He also tells the orchestra members his dream that their coordination would make him, the conductor, superfluous.
All that does not sound condescending at all.
Finally, I want to make a third point regarding concerts. I see as an extraordinary polite gesture Carlos Kleiber's habit inviting the orchestra to receive the applause standing up, BEFORE he bows to the audience.
A pity that Guiseppe Barbareschi did not mention the name of the orchestra in the rehearsal.
Greetings
.-
The orchestra is mentioned in the video.....
Ah, seeing it now in the introduction. I usually skip. Thanks for your prompt reaction!
I entirely agree. Kleiber usually let the orchestra have the first bow, as do many of the greatest conductors. Abbado, for example, and especially Tennstedt (who was one of Kleiber's favorite conductors). The following clip shows the very end of Tennstedt's performance of Mahler's First Symphony with the Chicago Symphony. ua-cam.com/video/4p9MryrMNsU/v-deo.htmlm49s Notice that his first gesture is a nod of fellowship to the orchestra -- "Yes, we DID it!" He applauds the orchestra, asks them to stand, singles out the horns, shakes hands with all the principal string players, applauds the orchestra again -- and only then, 40 seconds after the applause began, does he turn to the audience and acknowledge the applause himself. That's the ultimate in respect for the musicians.
@@dizzyology7514 I don't know why I am reading your comment and the link only today - just by chance. I would have told you earlier that I thoroughly enjoyed Tennstedt's attitudes. Quite right, the orchestra first!
.-
Carlos Kleiber was the only conductor about Karajan's level.
Love this video! A valuable lesson for young conductors. Thanks for posting!
Simply stated, one of the ultimate musicians.
Me encanta!Pasa el tiempo y no me canso de verlo, oírlo y vibrar admirando su actuación!
Oh but why in the concert do they focus so much on the orchestra and not on Kleiber????Not seeing him conduct in major parts of the performance was the major flaw here, the second flaw was that the subtitles were too small, and it was impossible to read on regular screens- need to project it to my tv to fully appreciate his comments- I’ll do it some time in the future..
Otherwise- it is so interesting to see his gentle and yet perfectionistic approach with the orchestra. (Compare it to Mravinsky’s ways:)
精雕细琢！
👏🏽👏🏽👏🏽👏🏽👏🏽💐💐💐
❤
一流の放送オケの実力には限界がある。だけど、リハーサルを取れる事では、超一流のオケの比では無い。蝙蝠序曲なんて、こんな物だと誰だって思っている。そんな連中が、少しずつクライバーの音楽が、今までなかったスタイルである事が分かって来る。顔色が変わる。オーボエの人なんか。打楽器を遠くにやったり、要求の細かい事。弦楽器の音が壁に吸い込まれていく、その一瞬の音色の変化を、平凡な言葉を多彩に何度も使いながら説明して行く。彼らも、何とかしてやろうと、常ならぬエネルギーを出そうと、常識の枠から出て行く。若い時のアルゲリッチとも共通の様式。作曲で言うと、シュトックハウゼンの瞬間様式との共通性がある。
放送オケの努力があって、ウイーンフィルなどでの短時間のリハーサルが可能となる。ウイーンコンツエントスムジクムでの実践が無ければ、アーノンクールのコンセルトヘボウやウィーンフィルでの、短時間でのリハーサルは可能とはならない。オケメンがＣＤを聴いている筈だから。
放送オケでも、バイエルン放送やＢＢＣなどは、超一流だが・・・。それでも、リハーサルに時間のかかる現代作品も上演する。
少しずつこの指揮者が、ただの二世タレントでは無く、特別な存在となる可能性をオーケストラは感じて行くのが、わかりませんか？やっぱり、超現代作品を演奏して来た、柔軟性と言うべきものを感じる。取り敢えず、やって見る精神。途中からは、笑いまで引き出す。今までの指揮者の解釈に対する不満だが、そんな物だと思えば、掘り起こさないのが人間として普通だから。このオペレッタが秘めている、人間模様を、終戦後３０年経った１９７０年でも、戦争で傷ついた心は、忘れていたのかも知れない。指揮者の豊かな表情を見て下さい。
だから、どれだけ美しい演奏であっても、カラヤンの演奏は表面的で、衣の下から鎧が見える気がするのだ。
F Josephus
Musik mit Leben füllen, par excellence. Was hätte ich gegeben unter ihm spielen zu können.
Poetry in motion.
At 11:31 Karajan takes it a bit slower. He varies the tempo & then speeds it up, similar to what you might do while riding a horse & going from smooth to rugged terrain, & then back to smooth again. I love Carlos Kleiber's conducting, but for this piece, my preference is Karajan's. Carlos has a smaller repertoire, because he was such a perfectionist. I probably have all of his recordings. My 11 year old son can depict his conducting from other maestros, & only wants to hear him.
left handed viola player...nice.. 9:40
+Jennifer Ana Resurreccion 09:36
I have so many questions about this lol does anybody know his name?
nonbilious genius creatura
Does anybody know why his father (Erich) was opposed to him pursuing a musical career?
Having manic depression might have had something to do with it. Most father-son relationships are complex. (Do as I say, not as I do.) Certainly, both were creative geniuses. Conflict seems inevitable. Especially during the social conditions in Europe before and during WWII.
A genius at work
Fascinating. Only men playing… what happened to the women who trained at conservatoires?
It was fascinating to see how thoroughly white male it was.
Does anyone know the name and any information on the fantastic flute/piccolo player who must play beyond the speed of light here?
I wondered the same thing. These are extremely skilled musicians. They are able to respond to Kleiber's peculiar (even wacky) metaphors, and (a) understand what to do and (b) execute it. And in the process, they start having fun. Kleiber charmed the hell out of them, but all the charm in the world comes to nought unless the skill is there.
Willy Freivogel (*1934), studierte Flöte an der Stuttgarter Musikhochschule bei W. Glas und in Detmold bei H.P. Schmitz. Weitere Studien bei Le Roy, Paris, A. Nicolet, Freiburg und A. Jaunet, Zürich.
1960-1999 Solo Piccolobläser beim Radio Sinfonieorchester Stuttgart.
Solistische Tätigkeit mit dem Stuttgarter, Pforzheimer und Heilbronner Kammerorchester in allen Musikzentren Europas, sowie bei Rundfunk und Fernsehen. 1960 Mitbegründer des Stuttgarter Bläserquintetts, mit dem er 1971 internationaler Kammermusik-Preisträger in Colmar wurde.
1972-82 "Scelto Duo" mit Katerina Zlatníková, ab 1979 "Diabelli Trio".
1990 erhielt er den Interpretenpreis zum Johann-Wenzel-Stamitz-Preis.
Kleiber non ha confronti. Forse non era umano, ma Dio stesso che si travestiva da Carlos Kleiber
Questo video sarebbe inserito nella categoria "GUIDE PRATICHE E STILE"..........................Certo, non si finisce mai di imparare. Imparare ad attaccare un bottone o a portare con disinvoltura un certo abito....................
I'm surprised he wasn't one of those "Fly of the Handle" genius'.
those dont really exist. They just make it seem this way
My experience has always been that those are the wannabe's not the real great ones, who usually are respectful of the others because they are there for the music not for pumping up their "importance"--the great ones know that their importance lies in getting out of the way and becoming a conduit for the greatness of the music...And this person was one of the greatest ever.
Sometimes the mean ones are true greats as well... Szell and Reiner come to mind; brutal taskmasters both but what results! But for the most part belligerence simply fails... Kleiber, on the other hand charmed this group into great performance
Einfach toll gespielt
What piece is this?
What piece is this in the beginning?
In concert 36:07
Moin
Göttlich. Beispiel Minute 19ff.
Irre ich mich oder hört sich so nicht auch die Fledermaus-Overture an?
+Johann Schneider Jah das is richtig, Fledermaus-Ouverture
Wollt doch sagen, die dirigiere ich doch selbst. Dann stimmt da was im Titel nicht.
+Johann Schneider Eine schneidende Bemerkung, wenn ich so sagen darf! In der Tat geht es hier um die Einstudierung der “Fledermaus-Ouvertüre”. Die Verwirrung liegt einfach daran, daß uns der Hochlader des Films eine nachlässige Arbeit geliefert hat. Das sieht man sofort an dem Titel des Videos, der fälschlicherweise die “Freischütz-Ouvertüre” von Carl Maria von Weber lautet.
Am Anfang des Videos ist noch der Abspann für die "Freischütz"-Probe zu sehen. Falscher Videoschnitt.
36:08 concert
What song are they rehearsing?
Die Fladermaus Overture.
11:06
1:12
32:00 Bitte nicht "Ich schloag Dihich thhhoooaoht"
sondern
"Ich schlagg Dich TÓT!" Falco dirigiert
At that time many orchestras don't accept to have female players, not as today. The reason is when she get pregnant she has to stop rather long time.
I found a female violinist sits at the end in the 2nd violin, probably she is not able to get a child, that's why they kept her.
MANY THANKS FOR THIS AMAZING VIDEO, unfortunately there is no subtitles, but I try to understand, Italian terms and German is between English and Swedish!
Richard Strauss: Fledermaus - Ouvertüre
Messi ist Weltmeister
the way those people look at him, not understanding... the problem working with conservative 70 year-olds...
I don't think they're used to being stopped so often :)
yeah it's his fault that he was so professional, even for this stupid vienese repertoire...
stupid vienese repertoire ? omg ....
OMG - you guys don´t have any clue about rehearsals, orchestras etc.
strauss polkas and valses ...yeah i find them stupid
His comments to the musicians (oboe, trombones) would put him in the pain-in-the-ass category of conductors. Pretending to "understand" but putting down the players at the same time. Mercifully, he could not stop during the concerts...
Well, I find your comment quite unfair. Do you understand german? Can you understand the way he talks to them? It isn't unfriendly.
I appreciate how many could find his style and approach fascinating. But, as an orchestral trombonist, I have little use for conductor banter and most of my colleagues would probably agree. One of the best conductors I played under spoke barely at all to the musicians and everyone loved him. My German is OK but the subtitles help...
Actually, as his career progressed, Kleiber came to agree with you. In a letter to his friend and biographer Charles Barber, he notes that in a rehearsal, "every word is a nail in the conductor's coffin." The only other known footage of Kleiber rehearsing consists of three clips in preparation of the 1992 Vienna Philharmonic New Years Concert, and in these he speaks seldom, mostly when he is trying to resolve a discrepancy between what is in the parts the players are using and the version he knows by heart. The mature Kleiber preferred to communicate with players via written notes, or annotations in the parts, which he often hand-marked personally.
But I would disagree that his tone is condescending in this rehearsal. He apologizes repeatedly for stopping them, often expresses frustration with himself when he can't find a way to explain what he wants, and he frequently emphasizes that he wants the orchestra to have fun while playing. As another comment notes, the musicians look a bit dubious and skeptical at first, but as the rehearsal continues, their expressions indicate that Kleiber is winning them over, making them feel that he's on their team more than they are on his. Kleiber could be very abrasive with players on some occasions, but I don't see that attitude displayed here.
Thank you for the very interesting comments.
I think you really don't understan what he is saying in any way. As a pro musician and orchestral violinist (1st) i do not in the least agree with you, and you sound much more lke the pain inthe for any conductor who had to work with you. The kind who don't listen, who are reading mags behind their music, and in genberal waste the time of the other musicians who are serious. Especially the arrogance of your comments. dizzyology had the courtesy to reply to you in a way your own comment did not merit, more power to him and his own level of musicianship. In general, I have found that the best are the simplest and the most courteous, as Maestro Kleiber is here, and the musicians clearly appreciate it, as that is not always the case. You have totally misinterpreted, because it sounds very clearly as if you were not really listening. Which sounds as if that is also how you handle your own work. Sadly. So use these comments to wake yourself up, and start making music and listening at a much more interesting and real level. The conductors, and the other musicians, will thank you for it, not to mention the composer...
A meticulous conductor, and a unhappy orchestra in rehearsal.
Un documento inestimabile
5:34
4:28
8:38